Suede is an English rock band of the 1990s and early 2000s that helped star… Read Full Bio ↴Suede is an English rock band of the 1990s and early 2000s that helped start the Britpop musical movement. Through their several incarnations, they were able to consistently put out albums that charted well, while still holding the respect of critics. Though they never achieved great success in North America, they were considered by some to be as big in the UK in the 90s (at least in terms of popularity) as The Smiths were in the 80s, or Roxy Music in the 70s.
Suede were formed in London in 1989 by bassist Mat Osman, singer Brett Anderson and his then girlfriend, Justine Frischmann, on rhythm guitar. They soon added guitarist Bernard Butler â who was recruited through an advertisement in Melody Maker. Along with a drum machine as percussion, Suede were signed to RML Records, a label from Brighton. Comedian Ricky Gervais (who later found fame with The Office) managed the band for a brief period before they were signed to a record label.
With Mike Joyce (formerly of The Smiths) famously filling in as drummer, Suedeâs first record "Be My God/Art", was printed but never released due to a dispute with the label. The few surviving records out of a batch of 2000 are considered amongst the rarest of Suede collectibles. Simon Gilbert soon replaced the drum machine and Suede signed to Nude Records. Though still living with Anderson, Frischmann was ejected from the band around this time because of her failure to attend rehearsals while flaunting her new relationship with Damon Albarn of Blur.
The bandâs first single The Drowners was released amid a media frenzy that began before Suede had released any actual music. The band was on the cover of Melody Maker, which proclaimed them as âthe best new band in Britainâ prior to any official release. The debut single created an enormous amount of excitement because of its sharp contrast to the dying Madchester scene and the grunge sound of the time. Suede were further distinguished from their contemporaries by Andersonâs flamboyant looks and noticeably unique vocals, combined with Butlerâs melodic guitar playing.
Surprisingly given the amount of press exposure the band had received, The Drowners featuring two strong b-sides in My Insatiable One (later famously covered by Morrissey in concerts) and To The Birds - was only a moderate hit. Success would only come with the follow-up singles Metal Mickey (written about Daisy Chainsaw/QueenAdreena frontwoman Katie Jane Garside) and Animal Nitrate, both of which reached the UK Top 20 on release a few months later.
Their first album Suede became the fastest selling debut since Frankie Goes to Hollywoodâs Welcome To the Pleasuredome and was catapulted onto the charts after a breakthrough performance on the 1993 BRIT Awards. Featuring heavily-layered production by Ed Buller, the album showed influences from The Smiths, David Bowie, and many other glam rockers, but managed to filter and blend them together, creating its own trademark sound. However, the fan hysteria that surrounded Suede in Britain would be shortlived, and never duplicated by the American public.
Their American success was limited, despite securing a tour slot with the Cranberries, who had support from MTV. Moreover, a lounge singerâs lawsuit forced the band to stop using the trademarked American name âSuedeâ (a fate also suffered by fellow UK band The Charlatans/The Charlatans UK). For the North American market, the band would release all of their future albums under the moniker The London Suede.
Some possible factors cited to explain the bandâs lack of U.S. success are their quasi-androgynous look and distinct British sound, both of which might have alienated North American audiences. Despite this, the band retained a cult following in the U.S. Following the release of their debut album, the band began work on their highly anticipated follow up single and album in late 1993 and much of 1994. The hectic schedule the band was facing hinted the problems that were soon to come.
In February of 1994, the band released the single âStay Togetherâ, which as well as being a massive critical success, also became their highest charting at the time, reaching number three. Despite their growing profile, tensions within the band mounted as they began working on the second album. Anderson and Butler fought constantly; a major issue was the production of the album (again done by Ed Buller). Things reached a head when Bernard Butler quit the band altogether in the middle of the recording sessions, leaving behind tapes containing his ideas for the songs that had been written. The remainder of the guitar work on the album was reputedly completed (depending on the source) either by studio musicians or Brett Anderson himself.
When Dog Man Star (1994) finally appeared, its sales were generally sluggish, though the album was critically acclaimed. The record was vastly different sounding than the bandâs debut. It featured a large sound, backed by strings and a horn section in much of it. The year that Blurâs Parklife and Oasisâ Definitely Maybe were fighting for pop supremacy, Suede explored darker territory with Dog Man Star. Their image, however, was tainted by the departure of Butler, as they searched for someone to fill his undeniably large shoes.
The vacancy was soon filled by 17 year-old guitarist Richard Oakes (initially nicknamed by the UK music press as âLittle Dickieâ) before an international tour to promote the album. Many critics and fans alike had their doubts about the ability of the band to move on without Bernard Butler, who was an integral part of the bandâs songwriting. However, the band broadened their sound when they were joined by keyboardist and backing vocalist Neil Codling in the making of their third album, Coming Up (1996). This would be the album which gained the group their most mainstream success. The first single from the album, âTrashâ was immensely popular and tied with âStay Togetherâ as the groupâs highest charting UK single, reaching number 3.
The album was a hit throughout Europe, Asia and Canada, but still not in the U.S. It did, however, answer those who questioned whether Anderson and company could produce another hit without Butler. Suede had again changed sound drastically; Coming Up featured more of a glam tinted pop/rock sound, as opposed to the darker elements that the previous albums had showcased. Reviews were again mixed, but the album topped the UK chart and became the bandâs biggest-selling release. The band was finally getting the mass video and radio play that they lacked during the Dog Man Star period and in many ways fulfilling the hype that characterized much of the early part of their career. The album brought the band five straight top 10 singles, a remarkable feat by any standards.
The bandâs next venture was a collection of b-sides and rarities entitled Sci-Fi Lullabies, which charted well for such a compilation, reaching #9 on the UK chart. The band were well respected for their b-sides, which were often regarded by critics and fans as being equal to or exceeding the quality of the a-sides they backed.
By the time the compilation was released in 1997, though, the Britpop movement was noticeably waning in popularity, and the band had decided to split with long-time producer Ed Buller before commencing work on their follow up to Coming Up.
Despite being backed by the popular lead single âElectricityâ, Suedeâs fourth album, Head Music (1999) was something of a critical disappointment, though it once again took the band to number one on the album charts. A synth-infused album that focused less on guitar riffs and more on keyboards, it was produced by Steve Osborne, who had worked with Happy Mondays and New Order. Critical opinion was sharply divided; many felt the record was too shallow and lacking in substance, while others thought the album was the group again taking a different direction and charting new territory.
The next three singles released from the album failed to crack the top 10, breaking a run stretching back to 1995âs âNew Generationâ. The b-sides for the singles were also arguably not up to par with their usual standard, which hinted at the drying up of the creative well. Anderson also began being criticized more by fans for his often use of redundant vocabulary and limited lyrical themes. Despite this, even with their drop in mainstream popularity, the band still maintained a large core group of fans.
Not long after the release of Head Music, Nude Records effectively ceased to exist. Like many of their labelmates, Suede ended up signing to Nudeâs parent company/distributor Sony to record their fifth album, A New Morning (2002). The long and troubled gestation of the album saw keyboardist Neil Codling leave the band, citing chronic fatigue syndrome, to be replaced by long-time band associate Alex Lee, formerly of Strangelove.
In concerts, Lee played second guitar, as well as keyboards, backing vocals and, at one point, harmonica. The album title, according to Anderson, referred to âa fresh start, a new band and a new fresh outlookâ - the singer had reportedly been addicted to heroin and crack cocaine for a number of years by this time, which was having an increasingly deleterious effect on his health. He was quoted at the time as saying âweâve all cleaned up our drug problems âŠwhich is nice.â
Despite the rejuvenation of the groupâs health, the album was a commercial disappointment and failed to crack the top 20. Produced by âbig nameâ Britpop producers John Leckie (who famously produced The Stone Rosesâ debut LP, as well as records for Radiohead and Muse) and Stephen Street (most famous for his work with The Smiths and Blur), A New Morning was considered a solid enough outing by fans of the band, but critical reaction was decidedly lukewarm and the mainstream public interest had long disappeared. Only two singles, âPositivityâ and âObsessions,â were released from the album, the fewest singles taken from any of the bandâs albums, and neither charted particularly well.
In Autumn 2003, after the release of their Singles compilation album and accompanying single âAttitudeâ, Suede played five nights at Londonâs Institute of Contemporary Arts, dedicating each night to one of their five albums and playing through an entire album a night â with B-sides and rarities as encores â in chronological order. After these shows, the band announced there would be no more projects under the Suede name for the foreseeable future â effectively announcing the end of the band.
Their last concert at Londonâs Astoria on December 13, 2003 was a two-and-a-half hour marathon show, split into two parts (plus encore) with the first part being âsongs we want to playâ. Brett made an announcement that âthere will be another Suede albumâ to everyoneâs delight, but added ââŠbut not yetâ. âSee you in the next lifeâ was their closing remark.
Following persistent rumours, the boss of the band's former label, Nude Records' Saul Galpern officially announced on 15 January 2010 that Suede would be playing together again. "It's [for] a one-off gig," he explained of the show, which featured the band's second incarnation. The band played London's Royal Albert Hall as part of the 2010 Teenage Cancer Trust shows on 24 March 2010. Despite the gig initially being billed as a one night only reformation, when questioned on German radio station MotorFM in early February, Anderson refused to confirm that the band wouldn't continue. The band subsequently announced two UK 'warm up' gigs prior to the Royal Albert Hall show, at the 100 Club in London and the Ritz in Manchester. The trio of gigs were very well-received by critics, including a glowing two-page review in the NME.
Appearances at the Smukfest festival in Denmark on 7 August, Parkenfestivalen in BodĂž, Norway on 21 August, the O2 Arena in London on 7 December and a mini European tour covering Belgium, France, Sweden, the Netherlands and Germany have since been confirmed. Although the band have so far refused all media request for interviews and it is unconfirmed whether the band will work on new material together, it has been reported in the press that a new record deal with Warner Music Group is on the table.
On 22 September 2010 the band has announced a new compilation album The Best of Suede, to be released on 1st November.]
Suede continued to perform in 2011. After they had completed their biggest show ever at London's O2 Arena, Brett confirmed that Suede were in the mood for more shows. They have performed at various festivals all over the world, including Blackberry's Live & Rockin' Festival on 19 March 2011, the Coachella Valley Music and Arts Festival on 16 April 2011 and the SOS 4.8 Festival in Murcia, Spain on 7 May 2011. They played Latitude Festival in Suffolk on 17 July 2011. The Berlin Festival is the last date Suede were pencilled in for. They played Berlin on 9 September 2011. This directly followed the Asian tour in August.
In June 2011, following on from the success of the compilation album, the band released remastered and expanded editions of all five studio albums. They also performed their albums Suede, Dog Man Star and Coming Up at London's O2 Brixton Academy over three nights on 19, 20 and 21 May 2011,[92] and at Dublin's Olympia Theatre on May 24, 25 and 26.
Suede embarked on a full Asian tour where they played Jisan, Singapore, Taipei, Beijing, Shanghai, Hong Kong, Osaka and Tokyo. The band commenced their eight-date tour in late July in Jisan, South Korea and finished up at the Summer Sonic festival in Tokyo, Japan on 14 August 2011.
They then performed in Athens on 11 September 2011, and wrapped up their touring commitments in Russia on 16 and 18 December 2011 where they showcased new songs "Falling Planes", "The Only", "Someone Better", "I Don't Know Why", "Cold War", "Future Nightmare" and "Sabotage".
Suede began recording a new album with Ed Buller in 2012 and Brett Anderson stated that of the songs showcased in Russia, only "Sabotage" was thus far in contention. He also stated that the album sounding like, "...probably like some artist on some drug, engaged in a game of quoits with some other artist on another drug. You can adopt your own journalistic cliche if you haven't grown up yet."
On 3 December 2012 Suede announced on their official website a "Brand new album out spring 2013".
There is another artist with the same name:
2. Suede is a lounge singer from Baltimore, Maryland. She sued the British rock band in 1993, resulting in music from the group being released under the name "The London Suede" in the US.
Suede were formed in London in 1989 by bassist Mat Osman, singer Brett Anderson and his then girlfriend, Justine Frischmann, on rhythm guitar. They soon added guitarist Bernard Butler â who was recruited through an advertisement in Melody Maker. Along with a drum machine as percussion, Suede were signed to RML Records, a label from Brighton. Comedian Ricky Gervais (who later found fame with The Office) managed the band for a brief period before they were signed to a record label.
With Mike Joyce (formerly of The Smiths) famously filling in as drummer, Suedeâs first record "Be My God/Art", was printed but never released due to a dispute with the label. The few surviving records out of a batch of 2000 are considered amongst the rarest of Suede collectibles. Simon Gilbert soon replaced the drum machine and Suede signed to Nude Records. Though still living with Anderson, Frischmann was ejected from the band around this time because of her failure to attend rehearsals while flaunting her new relationship with Damon Albarn of Blur.
The bandâs first single The Drowners was released amid a media frenzy that began before Suede had released any actual music. The band was on the cover of Melody Maker, which proclaimed them as âthe best new band in Britainâ prior to any official release. The debut single created an enormous amount of excitement because of its sharp contrast to the dying Madchester scene and the grunge sound of the time. Suede were further distinguished from their contemporaries by Andersonâs flamboyant looks and noticeably unique vocals, combined with Butlerâs melodic guitar playing.
Surprisingly given the amount of press exposure the band had received, The Drowners featuring two strong b-sides in My Insatiable One (later famously covered by Morrissey in concerts) and To The Birds - was only a moderate hit. Success would only come with the follow-up singles Metal Mickey (written about Daisy Chainsaw/QueenAdreena frontwoman Katie Jane Garside) and Animal Nitrate, both of which reached the UK Top 20 on release a few months later.
Their first album Suede became the fastest selling debut since Frankie Goes to Hollywoodâs Welcome To the Pleasuredome and was catapulted onto the charts after a breakthrough performance on the 1993 BRIT Awards. Featuring heavily-layered production by Ed Buller, the album showed influences from The Smiths, David Bowie, and many other glam rockers, but managed to filter and blend them together, creating its own trademark sound. However, the fan hysteria that surrounded Suede in Britain would be shortlived, and never duplicated by the American public.
Their American success was limited, despite securing a tour slot with the Cranberries, who had support from MTV. Moreover, a lounge singerâs lawsuit forced the band to stop using the trademarked American name âSuedeâ (a fate also suffered by fellow UK band The Charlatans/The Charlatans UK). For the North American market, the band would release all of their future albums under the moniker The London Suede.
Some possible factors cited to explain the bandâs lack of U.S. success are their quasi-androgynous look and distinct British sound, both of which might have alienated North American audiences. Despite this, the band retained a cult following in the U.S. Following the release of their debut album, the band began work on their highly anticipated follow up single and album in late 1993 and much of 1994. The hectic schedule the band was facing hinted the problems that were soon to come.
In February of 1994, the band released the single âStay Togetherâ, which as well as being a massive critical success, also became their highest charting at the time, reaching number three. Despite their growing profile, tensions within the band mounted as they began working on the second album. Anderson and Butler fought constantly; a major issue was the production of the album (again done by Ed Buller). Things reached a head when Bernard Butler quit the band altogether in the middle of the recording sessions, leaving behind tapes containing his ideas for the songs that had been written. The remainder of the guitar work on the album was reputedly completed (depending on the source) either by studio musicians or Brett Anderson himself.
When Dog Man Star (1994) finally appeared, its sales were generally sluggish, though the album was critically acclaimed. The record was vastly different sounding than the bandâs debut. It featured a large sound, backed by strings and a horn section in much of it. The year that Blurâs Parklife and Oasisâ Definitely Maybe were fighting for pop supremacy, Suede explored darker territory with Dog Man Star. Their image, however, was tainted by the departure of Butler, as they searched for someone to fill his undeniably large shoes.
The vacancy was soon filled by 17 year-old guitarist Richard Oakes (initially nicknamed by the UK music press as âLittle Dickieâ) before an international tour to promote the album. Many critics and fans alike had their doubts about the ability of the band to move on without Bernard Butler, who was an integral part of the bandâs songwriting. However, the band broadened their sound when they were joined by keyboardist and backing vocalist Neil Codling in the making of their third album, Coming Up (1996). This would be the album which gained the group their most mainstream success. The first single from the album, âTrashâ was immensely popular and tied with âStay Togetherâ as the groupâs highest charting UK single, reaching number 3.
The album was a hit throughout Europe, Asia and Canada, but still not in the U.S. It did, however, answer those who questioned whether Anderson and company could produce another hit without Butler. Suede had again changed sound drastically; Coming Up featured more of a glam tinted pop/rock sound, as opposed to the darker elements that the previous albums had showcased. Reviews were again mixed, but the album topped the UK chart and became the bandâs biggest-selling release. The band was finally getting the mass video and radio play that they lacked during the Dog Man Star period and in many ways fulfilling the hype that characterized much of the early part of their career. The album brought the band five straight top 10 singles, a remarkable feat by any standards.
The bandâs next venture was a collection of b-sides and rarities entitled Sci-Fi Lullabies, which charted well for such a compilation, reaching #9 on the UK chart. The band were well respected for their b-sides, which were often regarded by critics and fans as being equal to or exceeding the quality of the a-sides they backed.
By the time the compilation was released in 1997, though, the Britpop movement was noticeably waning in popularity, and the band had decided to split with long-time producer Ed Buller before commencing work on their follow up to Coming Up.
Despite being backed by the popular lead single âElectricityâ, Suedeâs fourth album, Head Music (1999) was something of a critical disappointment, though it once again took the band to number one on the album charts. A synth-infused album that focused less on guitar riffs and more on keyboards, it was produced by Steve Osborne, who had worked with Happy Mondays and New Order. Critical opinion was sharply divided; many felt the record was too shallow and lacking in substance, while others thought the album was the group again taking a different direction and charting new territory.
The next three singles released from the album failed to crack the top 10, breaking a run stretching back to 1995âs âNew Generationâ. The b-sides for the singles were also arguably not up to par with their usual standard, which hinted at the drying up of the creative well. Anderson also began being criticized more by fans for his often use of redundant vocabulary and limited lyrical themes. Despite this, even with their drop in mainstream popularity, the band still maintained a large core group of fans.
Not long after the release of Head Music, Nude Records effectively ceased to exist. Like many of their labelmates, Suede ended up signing to Nudeâs parent company/distributor Sony to record their fifth album, A New Morning (2002). The long and troubled gestation of the album saw keyboardist Neil Codling leave the band, citing chronic fatigue syndrome, to be replaced by long-time band associate Alex Lee, formerly of Strangelove.
In concerts, Lee played second guitar, as well as keyboards, backing vocals and, at one point, harmonica. The album title, according to Anderson, referred to âa fresh start, a new band and a new fresh outlookâ - the singer had reportedly been addicted to heroin and crack cocaine for a number of years by this time, which was having an increasingly deleterious effect on his health. He was quoted at the time as saying âweâve all cleaned up our drug problems âŠwhich is nice.â
Despite the rejuvenation of the groupâs health, the album was a commercial disappointment and failed to crack the top 20. Produced by âbig nameâ Britpop producers John Leckie (who famously produced The Stone Rosesâ debut LP, as well as records for Radiohead and Muse) and Stephen Street (most famous for his work with The Smiths and Blur), A New Morning was considered a solid enough outing by fans of the band, but critical reaction was decidedly lukewarm and the mainstream public interest had long disappeared. Only two singles, âPositivityâ and âObsessions,â were released from the album, the fewest singles taken from any of the bandâs albums, and neither charted particularly well.
In Autumn 2003, after the release of their Singles compilation album and accompanying single âAttitudeâ, Suede played five nights at Londonâs Institute of Contemporary Arts, dedicating each night to one of their five albums and playing through an entire album a night â with B-sides and rarities as encores â in chronological order. After these shows, the band announced there would be no more projects under the Suede name for the foreseeable future â effectively announcing the end of the band.
Their last concert at Londonâs Astoria on December 13, 2003 was a two-and-a-half hour marathon show, split into two parts (plus encore) with the first part being âsongs we want to playâ. Brett made an announcement that âthere will be another Suede albumâ to everyoneâs delight, but added ââŠbut not yetâ. âSee you in the next lifeâ was their closing remark.
Following persistent rumours, the boss of the band's former label, Nude Records' Saul Galpern officially announced on 15 January 2010 that Suede would be playing together again. "It's [for] a one-off gig," he explained of the show, which featured the band's second incarnation. The band played London's Royal Albert Hall as part of the 2010 Teenage Cancer Trust shows on 24 March 2010. Despite the gig initially being billed as a one night only reformation, when questioned on German radio station MotorFM in early February, Anderson refused to confirm that the band wouldn't continue. The band subsequently announced two UK 'warm up' gigs prior to the Royal Albert Hall show, at the 100 Club in London and the Ritz in Manchester. The trio of gigs were very well-received by critics, including a glowing two-page review in the NME.
Appearances at the Smukfest festival in Denmark on 7 August, Parkenfestivalen in BodĂž, Norway on 21 August, the O2 Arena in London on 7 December and a mini European tour covering Belgium, France, Sweden, the Netherlands and Germany have since been confirmed. Although the band have so far refused all media request for interviews and it is unconfirmed whether the band will work on new material together, it has been reported in the press that a new record deal with Warner Music Group is on the table.
On 22 September 2010 the band has announced a new compilation album The Best of Suede, to be released on 1st November.]
Suede continued to perform in 2011. After they had completed their biggest show ever at London's O2 Arena, Brett confirmed that Suede were in the mood for more shows. They have performed at various festivals all over the world, including Blackberry's Live & Rockin' Festival on 19 March 2011, the Coachella Valley Music and Arts Festival on 16 April 2011 and the SOS 4.8 Festival in Murcia, Spain on 7 May 2011. They played Latitude Festival in Suffolk on 17 July 2011. The Berlin Festival is the last date Suede were pencilled in for. They played Berlin on 9 September 2011. This directly followed the Asian tour in August.
In June 2011, following on from the success of the compilation album, the band released remastered and expanded editions of all five studio albums. They also performed their albums Suede, Dog Man Star and Coming Up at London's O2 Brixton Academy over three nights on 19, 20 and 21 May 2011,[92] and at Dublin's Olympia Theatre on May 24, 25 and 26.
Suede embarked on a full Asian tour where they played Jisan, Singapore, Taipei, Beijing, Shanghai, Hong Kong, Osaka and Tokyo. The band commenced their eight-date tour in late July in Jisan, South Korea and finished up at the Summer Sonic festival in Tokyo, Japan on 14 August 2011.
They then performed in Athens on 11 September 2011, and wrapped up their touring commitments in Russia on 16 and 18 December 2011 where they showcased new songs "Falling Planes", "The Only", "Someone Better", "I Don't Know Why", "Cold War", "Future Nightmare" and "Sabotage".
Suede began recording a new album with Ed Buller in 2012 and Brett Anderson stated that of the songs showcased in Russia, only "Sabotage" was thus far in contention. He also stated that the album sounding like, "...probably like some artist on some drug, engaged in a game of quoits with some other artist on another drug. You can adopt your own journalistic cliche if you haven't grown up yet."
On 3 December 2012 Suede announced on their official website a "Brand new album out spring 2013".
There is another artist with the same name:
2. Suede is a lounge singer from Baltimore, Maryland. She sued the British rock band in 1993, resulting in music from the group being released under the name "The London Suede" in the US.
Metal Mickey
Suede Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Well, she's show-showing it off, then
The glitter in her lovely eyes
Show-show-showing it off, then
And all the people shake their money in time
She sells heart
She sells meat
Oh dad, she's driving me mad, come see
We shake, shake, shake to the trumpet
And through the slippery city, we ride
Skyline swine on the circuit
Where all the people shake their money in time
She sells heart
She sells meat
Oh dad, she's driving me mad, come see
She sells heart
She sells meat
Oh dad, she's driving me mad, come see
She sells heart
She sells meat
She sells heart
She sells meat
She sells heart
(She's driving me mad)
She sells meat
(She's driving me mad)
She sells heart
(She's driving me mad)
She sells meat
(She's driving me mad)
She sells heart
(She's driving me mad)
She sells meat
(She's driving me mad)
She sells heart
(She's driving me mad)
She sells meat
(She's driving me mad)
The glitter in her lovely eyes
Show-show-showing it off, then
And all the people shake their money in time
She sells heart
She sells meat
Oh dad, she's driving me mad, come see
We shake, shake, shake to the trumpet
And through the slippery city, we ride
Skyline swine on the circuit
Where all the people shake their money in time
She sells heart
She sells meat
Oh dad, she's driving me mad, come see
She sells heart
She sells meat
Oh dad, she's driving me mad, come see
She sells heart
She sells meat
She sells heart
She sells meat
She sells heart
(She's driving me mad)
She sells meat
(She's driving me mad)
She sells heart
(She's driving me mad)
She sells meat
(She's driving me mad)
She sells heart
(She's driving me mad)
She sells meat
(She's driving me mad)
She sells heart
(She's driving me mad)
She sells meat
(She's driving me mad)
The song "Metal Mickey" by Suede is a frenzied ode to a female performer who mesmerizes and bewitches her audience with her alluring stage presence. The opening lines of the song describe this mesmerizing quality of the performer as she shows off her glittering eyes and the people around her shake their money in time. The next lines of the song are essentially an invitation for the singer's father to come and witness the spectacle that is captivating him.
The chorus of the song repeats the catchy lyrics "She sells heart, she sells meat," suggesting that the performer is selling her emotions and physicality to her audience as she sways and gyrates on stage. The third verse of the song describes the city where the performer is performing, and the scene is one of slippery circuits and skyline swine, suggesting a sense of excitement and danger. The ending of the song repeats the chorus several times, with the singer lamenting that the performer is driving him mad.
Overall, "Metal Mickey" is a song that celebrates the seductive power of music and performance, portraying the audience and the performer as being caught up in a whirlwind of emotion and energy.
Line by Line Meaning
Well, she's show-showing it off, then
She is proudly displaying something for all to see.
The glitter in her lovely eyes
Her eyes sparkle and shine, drawing attention to her.
And all the people shake their money in time
The crowd dances and moves their bodies to the beat, throwing cash around.
She sells heart
She is selling passion and emotion.
She sells meat
She is also selling raw physicality and sexuality.
Oh dad, she's driving me mad, come see
The singer is expressing his frustration and attraction at the same time, urging his father to witness it firsthand.
We shake, shake, shake to the trumpet
The music creates an infectious rhythm that inspires everyone to dance.
And through the slippery city, we ride
The crowd moves through the city streets, buoyed by the energy of the music and each other's company.
Skyline swine on the circuit
The people look down from an elevated perspective at the spectacle below.
Where all the people shake their money in time
The scene is full of excitement and extravagance, with everyone throwing around cash in time to the music.
She sells heart
She is not just selling a product, but an experience that touches people emotionally.
She sells meat
She also provides a physical experience that excites and arouses people.
Oh dad, she's driving me mad, come see
The singer's desire and frustration are building as he watches the performance, and he wants someone else to share the experience with.
She sells heart
Her art and her expression of feeling are for sale.
She sells meat
She also takes advantage of people's raw physical desires to create a dynamic performance.
Oh dad, she's driving me mad.. come see
The singer is urging his father to come and witness the performance to better understand the complexity of the situation.
She sells heart
She is not just selling a product, but an emotion and a vulnerable part of herself.
She sells meat
She exploits people's primal desires to create a unique spectacle.
She sells heart
She wants to touch people emotionally and express something real.
She sells meat
But she also knows how to appeal to people on a physical level.
Lyrics © BMG Rights Management, Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: Bernard Butler, Brett Anderson
Lyrics Licensed & Provided by LyricFind
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@zen242
Such an underrated riff. I remember the first time I heard this i was just blown away. The boy Bernard can play!
@martincrook8702
I was an obsessed suedette and was lucky enough to hang out with them on tour a bit
@cheekyboy5000
Bernard fucking Butler. What a guitarist.
@Jujuheizer
cheekyboy5000 he lives next door to me! And to think I was such a suede fan back in the day. Amazing.
@johannesjuanes
This is pop music . This is how pop music should sound , class and glam , british style ! Great music still today!
@101airbourn
one of the best song to come from the Britpop era
@FrengerousHq
one of the best song to come from the Britpop era from the greatest band
@gaybob2173
too early for britpop. this is early 90s indie!
@kevmac1230
101airbourn Yes, pop perfection!
@leob4403
Pisses me off how criminally underrated this band is (660k views on this song!?). Their musicality is off the charts, the arpeggios and chord progressions are easily above even The Smiths. I wonder when this band will get the recognition they deserve (Rock hall of fame and all that), is it Bretts super Brittish accent that's putting some people off?